International Artists Promotion Group

The atelier of Jean-François Millet and the Association of Art Puissance 7 Events, in partnership with the town of Barbizon, organized the First International Exhibition “Impressions” 2016 (le Salon de l’Estampe à Barbizon). This salon aspires to become an annual event for lovers of the prints technique, having experienced moments of glory in the small village of Barbizon. In this first salon will be exhibited works by 34 contemporary artists, as well as 12 prints of the XIX century Barbizon School.

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There are places, remaining in memory for a long time, that are more accessible than others for the purposes of inspiration or emotion. These are the places that attracted the attention of artists for their charm and scenic beauty. Barbizon is one of those places, located on the edge of the plain of Chailly and Fontainebfeau forest. The Barbizon School – Corot, Rousseau, Diaz, Millet, Daubigny – turned into a great art movement of the XIX century and became a premise of impressionism.
Today, Barbizon is known for its galleries and museums, but it lacks the big annual exhibition that would present the works of old and new masters in symbiosis with the spirit of Barbizon. The uniqueness of the new salon is that the exposition presents the art of engraving, which has often been the both vector to the understanding of artwork, and also, above all, an art technique that is maximally saturated with direct emotions.
We hope that the emergence of New Salon will attain the highest of our aspirations. This Salon is also the result of partnership, and we warmly thank the various stakeholders: Philippe Douce, mayor of Barbizon, for the organization of this event; Daniel Moret and his studio, for workshops for their partnership; the gallery of Angelus, for the presentation of original prints of the Barbizon school; and the municipality of Barbizon for its help.
We especially thank the artists who showed interest and agreed to participate in this first exhibition of the New Salon.

“If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast.”
― Ernest Hemingway, writer

“I guess it goes to show that you just never know where life will take you. You search for answers. You wonder what it all means. You stumble, and you soar. And, if you’re lucky, you make it to Paris for a while.”
― Amy Thomas, writer

“Paris was a universe whole and entire unto herself, hollowed and fashioned by history; so she seemed in this age of Napoleon III with her towering buildings, her massive cathedrals, her grand boulevards and ancient winding medieval streets–as vast and indestructible as nature itself. All was embraced by her, by her volatile and enchanted populace thronging the galleries, the theaters, the cafes, giving birth over and over to genius and sanctity, philosophy and war, frivolity and the finest art; so it seemed that if all the world outside her were to sink into darkness, what was fine, what was beautiful, what was essential might there still come to its finest flower. Even the majestic trees that graced and sheltered her streets were attuned to her and the waters of the Seine, contained and beautiful as they wound through her heart; so that the earth on that spot, so shaped by blood and consciousness, had ceased to be the earth and had become Paris.”
― Anne Rice, writer

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1. Night in Paris.

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2. Time for the primary part of day to begin…

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3. The commotion of movement affects everything:

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4. … a crowdof cars…

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5. … on every street,

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6. … pedestrians,

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7. … and even rain. Paris without rain is just impossible at such a moment.

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8. Movement is the quintessence of this hour.

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9. A short pause on the island…

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10. … and movement again:

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11. … across the street,

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12. … along the street,

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13. … and even circularly.

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14. In any direction…

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15. On any route…

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16. Along any course…

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17. Taxis stubbornly stand still amidst this chaotic motion.

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18. This is as usual.

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19. The migration of buses exists but is not so fast,

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20. … not fast at all.

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21. Why would you be in a hurry if you are in Paris?

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22. The train is a bit crowded,

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23. … but nobody bothers anyone.

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24. Rush hour is over. Intersections are finallyemptying,

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25. … and so are business districts.

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26. Nobody is in this shopping mall…

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27. … or in this one.

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28. Supermarkets are almost empty.

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29. A lot of food patiently waiting for buyers.

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30. The last customer.

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31. About to close for the night.

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32. A book store about to close as well.

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33. Last client of the day.

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34. Nobody is in the flower store.

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35. The newspaper stand is closing.

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36. Galleries are closed.

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37. “The Thinker” is lonely.

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38. This is not Rodin. This is the France Chocolatier.

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39. This is not Salvador Dali, just a watch.

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40. But this Raoul Dufy is real…

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41. … and waiting for a good buyer.

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42. It’s an excellent lobby accessory for your palace, if you have one.

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43. The “Leica” store is closing now.

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44. The car showroom clients are still in recollection about what they want:

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45. … something like this,

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46. … or like this?

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47. The transportation problem is not very simple.

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48. Parisians tend to side with green energy.

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49. This is our ecologically bright future.

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50. But right now we still (thankfully) enjoy archaic technologies…

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51. Traffic comes down little by little…

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52. … and the streets become a bit calmer.

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53. The wistful Balzac sadly glances across the street at “Le Balzac”.

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54. Life in “Le Balzac” is obviously not so bad…

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55. …even in rain.

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56. It’s still raining at the Arch of Triumph,

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57. … but the night is already in full swing.

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58. “A touch of modernity in a contemporary atmosphere with an outstanding view …

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59. … on the most beautiful avenue in the world” – cafe menu of the L’Atelier Renault Centre.

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60. Big modern restaurants …

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61. … and old taverns from the left bank are ready and awaiting clients.

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62. The turning point of the night: fewer cars and busier cafes.

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63. Internet cafes are already crowded.

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64. It’s an impressive sign of the digital revolution,

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65. … but to get a glass of wine on a classical balcony is even more stylish.

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66. At this time guests of the “Bristol” are only beginning to hail cabs to go for entertainment.

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67. Perhaps to go here?

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68. The “Lido de Paris“ on the Champs-Elysées is one of the most famous cabarets …

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69. … and burlesque show in the world.

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70. Some could still be in an undecided mood…

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71. At the entrance of “George V” garçons are on spot …

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72. … and in full readiness.

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73. Finally it’s time for hard work here,

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74. … and here,

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75. … and here,

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76. … and here.

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77. This is the traditional style of a Parisian’ restaurant. The common hall …

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78. … and a bar on the first floor.

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79. There is a short line by the entrance …

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80. … and a waiter invites us to an upper floor.

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81. There are a few private rooms …

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82. … and several small halls,

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83. … like this one.

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84. Another impressive empire style restaurant hall.

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85. It’s impossible to imagine how people could progress …

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86. … from this empire style to the unconstrained and spontaneous style of impressionism.

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87. Paris is anticipating Christmas.

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88. The beauty of this city,

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89. … its charm,

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90. … and its harmony are incredible.

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91. Paris is for everybody and for everything: Paris is for bidding farewell,

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92. … Paris is for hope,

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93. … and Paris is for anticipations.

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94. Paris is for haste …

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95. … and Paris is for calm.

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96. Paris is for the old …

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97. … and Paris is for the young.

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98. Its streets, boulevards, and squares are akin to a theatrical stage.

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99. The weather does not matter.

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100. What matters is the theme, plot, and actors.

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101. Paris eagerly awaits a new Van Gogh,

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102. … a new Degas, and so on…

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103. This city always has a waiting mood …

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104. … and much of its envisions have already occurred.

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105. … wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast.

Dear readers of the journal “Russian Art & Paris”, we sincerely thank you for your everyday presence, for your letters and your comments. They are very important to us. We hope to maintain your attention in the new year as well. Best wished to you and your family in 2016!

Under the glass roof of the Grand Palais, Art Capital brings together more than two thousand French and foreign artists, emerging or established, exhibiting paintings, sculptures, drawings, photographs, and other artwork, making Paris the heart of contemporary creation through the federation of several renowned salons, which emphasize their differences to better complement each other. A true incubator of new talent, Art Capital is also the scene of privileged exchanges between all actors in the world of contemporary art. Art Capital wants to be open, free, united and didactic.The show brings together more than 40 000 visitors each year and is established for ten years as a major event of the French art scene. This year’s four iconic lounges offer all visitors, be they actors of the art world, gallery owners, collectors, professionals or the public, a course in contemporary art. They also offer a meeting with artists and their creations.At the Salon des Artistes Independants, we discover the work of independent artists, who are not represented by galleries. The Salon of Drawing and Watercolor exhibits several foreign delegations which present their works, publicize their work and cause exciting exchanges between painters and sculptors: Belarus, Japan, Korea, Spain, Sweden, China and Canada. For their part, the Comparison Salon highlights 28 groups corresponding to just as many sensibilities and tendencies in contemporary art. The public appreciates these styles, techniques and procedures. The Society of French Artists, open to all French and foreign artists, regularly admits over 650 international artists that are reviewed by a jury which awards medals and private prizes.

In short, there is more than enough reason to meet with artists and discover their work!

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Once again the Nave of the Grand Palais is to host “Art Capital’. For 6 days, you can discover the work of 2,500 artists (painters, sculptors, photographers, architects, engravers and so on…) at this great art fair. Open to the general public since 2006, the fair brings together artists from all different backgrounds and has become a reference point for the promotion of the current art scene. Art Capital strengthens links between the general public, the artists and the galleries.
Many different fairs are held as part of this event, including the Drawing and Water Painting Fair which presents works in pastel, charcoal, pencil, watercolour and even silk paper sculptures. The annual Independent Artists’ Fair is a showcase for contemporary art. Also present is the Society of French Artists which will be celebrating its 226th edition this year. They will be presenting a historic exhibition, created by Colbert in the 17th century. The society has presented remarkable works such as the Statue of Liberty by Bartholdi. Art Capital is a key event in the art world this autumn.

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1. A long queue to the entrance in rainy day of the vernissage.

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2. The entrance to the exhibition hall.

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3. The first viewers – 2015.

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4. The exhibition hall.

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5. “Exode”. Sculptor Myriam Sitbon Mendel, (France).

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6. “Le Corbusier”. Sculptor Andrey Tyrtyshnikov, (Russia).

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7. Society of French Artists celebrating its 226th Salon.

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8. In the begining of the exposition.

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9. First discussions.

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10. The first impression from exhibition

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11. Sculptor Olga Markova, (Russia).

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12. Sculptor Jacques Coquillay, (France).

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13. Contemporary art.

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14. The viewers.

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15. Painting by Remi Planche, (France).

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16. Painting by Perrone,

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17. Painting by Yoshiaki Tsu Tsui, (Japan).

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18. Sculptor Sylvie Falconnier, (France).

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19. Painting by Reiko Okanda, (Japan).

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20. Painting by Pierre Murillo, (France).

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21. Painting by Alexandra Rouard, (France).

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22. Sculptor …

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23. Painting by Bong Hee Kim, (South Korea).

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24. Painting by Alexandra da Fonseca, (France).

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25. Painting by Emi Hirai, (Japan).

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26. Sculptor …

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27. Painting by Anastasia Vostrezova, (Russia).

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28. Painting by Antoine Vincent, (France).

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29. Painting by Kathleen Brodeur, (USA).

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30. Sculptor Bruno Madelaine, (France).

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31. Painting by Yukio Saotome, (Japan).

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32. Painting by Alain Fromonot, (France).

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33. Painting by Kazuo Okamoto, (Japan).

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34. Sculptor Viviane Guybet, (France).

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35. Painting by Zourab Tsereteli, President of the Russian Academy of Arts, (Russia)

Against the stunning backdrop of the Grand Palais, the international contemporary art fair, FIAC, will be held from 22 to 25 October 2015, a favored meeting place for art dealers and artists from around the world. The capital is gearing up, with even more verve than usual, to beat in time with art, design and creation. The 42nd edition of the international contemporary art fair (FIAC) will open its doors from 22 to 25 October in the heart of the city. • First held in 1974 in the disused Bastille train station, FIAC has taken place since 1977 against the stunning backdrop of the Grand Palais along the Champs-Élysées, under the building’s famous nave, and also on the first floor and in its Salon d’Honneur. An internationally renowned made-in-Paris event, art dealers, artists and art enthusiasts alike gather together from around the world in the capital to bear witness to the buzz of global creativity. • This year, over 3,000 artists and 170 exhibitors are expected, and French design will take center stage with the showcasing of the Marchel Duchamps prize, organized in partnership with the Pompidou Centre, the National Modern Art Museum, to reward an experienced artist living in France. The winner will be displayed under the great staircase in the Grand Palais. Once again this year, FIAC will also be spilling onto the streets with its “Hors les Murs” (Beyond the Walls) agenda that will present events in the Jardin des Tuileries, the Jardin des Plantes, in the Place Vendôme and along the banks of the Seine.

by LE BHV MARAIS

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FIAC 2015 DRAWS CROWDS ON VIP DAY.
Collectors and art lovers surged into the Grand Palais Wednesday for the opening of the 42nd edition of FIAC in Paris. Only the V-VIPs – that is, high-spending collectors – were let into the fair Wednesday morning, but by the time the next rung of notables began the afternoon preview, swarms of people already clogged the aisles between booths, making circulation slow-going. With 170 galleries from 22 countries, FIAC brought the usual suspects like Gagosian Gallery, Paula Cooper, Galerie Perrotin, Pace and White Cube, as well as some bright ideas from the likes of Spruth Mägers, which used its booth to envision the home of a French collector (smooth) with a Sterling Ruby Mobile and Louise Lawler wall piece specially made for the booth.
• Paris gallerist Chantal Crousel was in her typical space, front-and-center at the entrance. Among her showing was an Elizabeth Peyton watercolor portrait, an ominous totem sculpture by Roberto Cuoghi, and Mona Hatoum’s “Hair and There” (2004). Director Marie Laure Gilles noted sales at Frieze had been slower the week before, but with most of the gallery’s collectors based in Paris the gallery was now welcoming many familiar faces, along with new clients. “FIAC is always very good to us,” she said. Interestingly, Gilles also noted a significant uptick in Chinese collectors at the fair this year.
• It was the opposite case for Lisson Gallery, according to Ossian Ward, head of content for the London art dealer. “It was more frenzied at Frieze. Sales the first day were just boom, boom, boom,” he said. Still, the gallery wasn’t faring too poorly on the first day of FIAC. Ward said sales and negotiations were steady, as it had sold all of its paintings by Stanley Whitney, who will make his debut in the gallery’s Milan branch this month. Lisson was also showing Anish Kapoor’s new burgundy fiberglass sculpture blooming from the corner. The gallery has double duty this week, as Ward said a team had been dispatched to assess the latest damage to Kapoor’s “Dirty Corner” at Versailles. Ward added that some Frieze-goers may have been more hesitant to “pull the trigger” in London, keeping in mind that there would be more to see across the channel in Paris the next week. That could be less of a concern next year when Frieze moves up to early October. Perhaps the choice of fair will inform the type of collector, as one FIAC gallerist said Frieze feels more commercial, whereas the Paris fair operated on a more intellectual level.
• Zurich gallery Hauser & Wirth brought a thoughtful collection inspired by Charlie Hebdo. Director Fiona Romer kept asking visitors to stop picking up copies of the French satirical paper’s emblematic post-attack edition stacked at the center of the booth. Though it’s not an artwork for sale, it is part of the installation. Romer said the gallery noticed many of its artists were politically active or had social messages, such as Mark Bradford and Ellen Gallagher. Curator Paul Schimmel wanted to express that artists need to be free to reflect society. “FIAC brings more statement booths than Frieze,” Romer said. Although Romer said she has started to see some collectors choosing to skip Frieze and attend only FIAC, she emphasized that “both fairs are valuable and needed.”
• As Frieze continues to expand its programming and satellite fairs, FIAC carries on under the banner of French indifference. FIAC director Jennifer Flay hoisted the fair out of turmoil when she took the helm 11 years ago and has used the steady footing to invest in the public offering. She has always made a point that FIAC is not an ivory tower fair only for dealers and buyers, but a citywide celebration of contemporary art designed with the public in mind, as seen with the Hors les Murs and Officielle programming. Ward from Lisson sums up that egalitarian forum feeling, noting that, “FIAC is just as much a feast for the viewers as it is for the collectors.” Despite speculation of “war fair” between Paris and London, and that high-selling Frieze could potentially endanger FIAC’s future, there is no sign that FIAC is at all interested in competition. If it’s true that age imbues confidence, then FIAC is looking good at 42.

Whenever I am asked to write a few words about my work, I freeze over a sheet of blank paper. What can a person from my profession convey with words? Like any artist, I speak with the audience through material. The material through which I see and perceive the world. In that material in which I perceive the world as a phenomenon. My material is my language and outside this material, I have no voice. • I understand, of course, that the audience interested to hear about the thoughts of an artist, but these thoughts are already represented in his work as a recording made on canvas or sheet of paper. The peculiarity of this record is that it is visual, which is maximally materialized and easily accessible for interpretation. The honesty of an artist and the authenticity of his observations largely determine the value of his works. Authenticity also has a special aura – it absolutely defies imitation. With all the seemingly fancy traits of visual art, it is quite conservative in its basic principles – either you have something to say that is inherently substantial, or you are the seller of air. There are many sellers of air, I agree, but there have always been many of them and they are easily distinguished. In everyday life we ​​recognize lies easily, and the lies inserted into an artistic frame are just as noticeable. Lying is not art, it can only be a fake. One is as far from the other, as sunlight and the absence of it.

Mikhail Kocheshkov for the readers of the ”Russian Art & Paris”.

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The creativity of Mikhail Kocheshkov is simultaneously very modern and conservative. By itself, the appeal of an experienced artist to full-scale drawing with pencil may seem anachronistic, and at the same time is a hallmark of the time, when elementary components of descriptiveness take on new meaning. The acuteness of perception of a person living with the problems of the XXI century, gives the motives of familiar and previous generation artists, a special significance. Fragile features of posing models, acute vertical towering of a church over houses, shining wet roof amidst a sky of crossed wires – all as if in the original work of art, acquires additional meaning. Each detail seen by an artist’s loving glance is seen by the involved viewer as part of a piercingly beautiful and fragile creation.
• The artist believes that the drawing should be sustained by the combination of hard and soft. That which is from nature – sky, earth, grass, trees, clouds – cannot be hard. Hard things are the work of human hands. This does not mean, of course, that all created by man is bad. It’s just different. The small format – Mikhail Kocheshkov has many drawings the size of a book page – in some cases conveys a certain intimacy of the artist’s vision. To some extent, this assumption is valid. The composition of many of his landscapes again and again returns the gaze from the edges of the sheet towards the center, forcing the viewer to go not into breadth, but into depth: to pass, bending the head, under the branches of an old tree, to walk around a fence which runs almost the entire width of the sheet, to zigzag in an intricate maze of assorted outbuildings. You want to examine these landscapes for a long time, sometimes even catching yourself on what feels like “walking” in the interior of the sheet from a flatness turned into an infinite depth. This line in the interpretation of the landscape – to show the audience the originality and uniqueness of a particular fragment of the tiniest corner of a boundless world – intersects with the other – the desire to come to a global and inclusive image of the Earth through a particular motive. Famous russian artist Kuzma Petrov-Vodkin walked a similar path. The handwriting style of Mikhail Kocheshkov is totally different from this master’s handwriting, but comes close by the most philosophical position in the meaning of the artistic image.
• Upon looking at Mikhail Kocheshkov artworks, there is usually a sense of credibility of the nature, of its particular reliability. However, it is impossible not to see the serious compositional work of the artist. These qualities of his work, such as good taste and a subtle sense of composition, which is akin to professional hearing in music, are seen today as the main determinants. The same qualities that allow him to reliably but without naturalisticness, beautifully but without a salon taste, to draw, engrave, and paint watercolors, are seen as the key to further creative growth of the graphic artist.

Mikhail Kocheshkov is a graphic artist, and most significant to him is the drawing. The emerging principles of his art are becoming more convincingly and distinctly evident in drawing. Here is a handwriting style of individuality, here his artistic position is more fully reflected. Mikhail Kocheshkov operates freely with planes, with space. He does not conceal his desire to direct our view. It is here that he is committed to accuracy, to emotional accuracy. He leads us through the landscape in a way that, according to his calculation, will lead us to the comprehension of the essence of this particular motif, lead us to empathize with him, with the artist.

V. Basmanov, artist

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Mikhail Kocheshkov was born in Ivanovo, in 1958. He recieved his professional education in Ivanovo State Art College (1977) and the Moscow State AcademicArt Institute named after VasiliySurikov (1987). Mikhail Kocheshkov is a member of the Artists’ Union of Russia since 1990. Since 2010 he is the Honored Artist of the Russian Federation. Mikhail Kocheshkov lives and works in Vladimir.

The artworks of Mikhail Kocheshkov – etching and graphic art are in the collections of museums: Ivanovo State Art Museum; Ryazan State Art Museum; Vladimir-Suzdal Museum Reserve.

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EXHIBITIONS

Etchings by Mikhail Kocheshkov in the exhibition of the Salon “Art Capital” 2015, (Paris).

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Etchings by Mikhail Kocheshkov in the exhibition of the Salon “Art en Capital” 2014, (Paris). The BRONZE MEDAL 2014

I have never regretted becoming an artist and I’m not ashamed of my profession. However, I was never able to accept what I do for just a profession – it is really something else. I started like everyone else with a simple desire to learn to draw. I, like many, am familiar with the inexplicable excitement, arising from the sense of how fathomless art is. In the village where I was born and grew up, there was no art studio or art school, so I came to everything myself. I was euphoric from the smell of oil paints and the smell of rare art albums. Instead of cubes and pyramids I drew and painted as best as I could all that surrounded me – portraits of family, household utensils, rooks and our river. I never thought about professionalism as a criterion for evaluation. Professionalism – is good … and I agree that it is better with than without it, but in his own depths an artist should remain an amateur, without this his professionalism is dead
• It so happened that in my “training” life there were no “teachers”. That is, those who would directly teach you to see and think. There were favorite artists, which I gradually revealed and studied from. In my early years I was truly mesmerized by Mikhail Vrubel and later Viktor Popkov. If we talk about tastes and influences, it is necessary to talk about art in general. The first film by Tarkovsky’s that I watched was “Solaris”. I can find no words to describe it other than shock. I did not know anything about the director, and not much about the film, but I still remember the state I was in – the state of surprise when everything in me was turned upside down. A similar reaction happened from contact with Brodsky’s poetry, literally from the first poem. List of “spiritual brothers” can be very long, but lets come back to Andrei Tarkovsky. Specifically him, I can call my “teacher”, because the impact of his work was more than substantial and greatly influencedmy thinking.
• I can not say that I consider myself to be a fully established artist. I am more concerned about myself tomorrow – rather than myself today or yesterday. I really love my job and can no longer imagine myself without creative work. I love the creative process itself. Especially the middle part of it, when you already pushed away from the initial concept and the work itself begins to make adjustments and lead you to the final version. That is, in the end you always get something a little bit different, a little bit more. Therefore, I treat creative work like a miracle. In that which I paint or am about to paint, I first of all see a phenomena. Phenomenon-Bread, Phenomenon-Boat, Phenomenon-Air, Phenomenon-wind and so on. In general, it is always difficult for an artist, and there is no point in explaining your work. Art, like music, acts on the subconscious almost instantly – enjoy it or not, touches or not …

Mikhail Kaban-Petrov for the readers of the ”Russian Art & Paris”.

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In painting “everything is on the degree of disappearance of reality and the return to it.”

Yuri Norshtein

The nature of the art language of painting is non-verbal, if a picture can be described in words, it’s a bad picture. Describing the artwork of artist Mikhail Kaban-Petrov just does not make sense. Being extremely concise by form, they involve the viewer in an unrestrained flow of associations, allusions, metaphors, and intersections with other worlds of the arts. The author understands his work as realism, the objective world is an unshakable plot-thematic pillar of his works. However, the moving motive of his artwork is not an image, but an expression of deep, multifaceted, ambiguous, performed contradictions of human experiences.
• The inevitability of conflict between matter and spirit conveys an intense drama with a visible absence of action. In the works of Mikhail Kaban-Petrov there is created a space of experiences, the artwork of feelings and even passions. A dry leaf, an apple, a boat, a road is present as an object of an image and reflection. The foundation of the paintings’ plot is the arrival of objects in space and time. Time may flow differently in the artworks. Series of works “Solid” (2011) – about the asphalt under the wheels of a moving car. Still life “Heat” (2011) viscous long midday slumber. Still life, “The Glove” (2011) on how stepping over a puddle, you notice that someone dropped it.• The artist bravely operates with space, sometimes shrinking it to the size of a canvas, sometimes expanding a microcosm to the same size. The space-time continuum is constructed in a cycle of artworks. Cycles “Boards” (2011), “Russian theme” (2011) touch upon the acute problems of the modern world-view, the experiences of changes to the world picture, coupled with inevitable losses and the inescapable desire to avoid them. Both cycles are combined by a cross-cutting theme – the image of apples on the table, and a distinctive color and compositional “rhyming”, a continuous rhythmic organization of the picture’s planes.
• In the 1970’s, visual arts came in close contact with cinematograpy. Cinema at this time acquires its artist, who begins to build each frame and their film series under the laws of easel artwork, making them the subject of contemplation. For a long time painting was in a search of ways to transfer motion and other intrinsic techniques of action. However visual arts have one decisive advantage – it commands silence. Remember – “the greater a pause – the greater an actor.” Artwork is a pause in time and space. Artist Mikhail Kaban-Petrov is mastering this amazingly effective technique, he holds the pause, giving the viewer a chance in the silence of art to realize something important and forever existent.

by Irina Marsheva, art critic,
member of the Union of Artists of the Russian Federation.

“Using the resources of abstract painting, the artist creates a series of artworks where the boundaries between the real and the abstract are erased. He says that the basis of all beauty – a form that is created by nature forever, but which has secret content, a hidden truth. It inherits the method of Russian thinking – the philosophy of life, the desire to know the truth, which gradually expands to the chasm of metaphysics.”

R. Savchenko, art critic.

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Mikhail Kaban-Petrov was born in the village Reshety, Novosibirskregion, in 1966. He recieved his professional education in Novoaltaysk State Art College (1990) and the Moscow State AcademicArt Institute named after VasiliySurikov, under the guidance of academician V. Sidorov (1996). Mikhail Kaban-Petrov is a member of the ProfessionalArtists Union of Russia (2001). Since 1996 artist lives and works in Kosterevo.